| Abstract: | 摘要 「船」在中國山水畫中早已發展成為文人隱居、遁世的象徵，但是這樣的美學思想在歷經時空的轉換後，已經距離我們太遙遠，無法引起我們的共鳴與感動。一個生長於四面環海台灣的我，對於「船」的文化意象，則是來自於當代社會意識的經驗與所屬的美術形式及內容，其與當代社會的生活經驗極為一致。因此對於「船」的詮釋，筆者嘗試從不同的人文角度切入，經由圖像、符號在歷史文化中的約定俗成，所產生的文化意象，並加以拼貼、組合，試圖表現不同於傳統繪畫中「船」的意象與意境，這便是筆者創作追求的目標。 論述的第一章主要是探討筆者在繪畫創作上構成的主要形式─「船」。從「船」在中國傳統繪畫上所扮演的功能開始討論，尤其著重於「船」在中國山水畫中所代表的文人思想－隱逸、遁世的生活哲學，進而討論到台灣本土文化中與船有關的民俗活動及生活意象，藉以區別傳統中國文化心理背景與台灣本土文化對於「船」的不同詮釋與意象，以釐清自己創作作品的內涵。 第二章則是討論與作品有相關聯的美學問題，包括繪畫對象的移情作用、經由圖像所產生的聯想、想像，乃是導因於約定俗成的文化記憶。進而由圖像的轉化形成了較直觀性的意象，並分析中國水墨畫中意象的結構。藉以分析筆者作品中所隱含的美學問題。 第三章則是分析中國水墨畫中有關意境與境界的特質，及其在中國繪畫史中的演化過程，藉以更清楚的瞭解自己的創作層次，並進而指導往更高階層邁進。 第四章部份則是筆者對自己作品的形式與特質的分析，作品分為前、中、後三期，從各種不同的角度包括媒材、技法、構圖、色彩、空間等，並對當初創作的意念一一加以釐清，最後並總結所有作品形式的共通性與發展傾向。 結論部份則是個人對於國內現階段的創作形態與水墨畫環境，提出個人創作理念，並思考個人未來的創作方向。
ABSTRACT “Boats” have been a symbol of literators’ reclusion in Chinese painting; however, after the change of space and time, this aesthetic, being too far for us, can no longer touch the right chord. Growing in Taiwan, a seagirt place, my cultural imagery of boats is from the experiences of the contemporary social ideology and its art forms and content, which is conformable to the contemporary social life experiences. Therefore, my interpretation of boats involves different cultural aspects. Through the conventional images and symbols, and by collaging and building， we try to express different images of “boats” from the traditional ones. And this is my pursuit of invention. Chapter 1 of this dissertation is mainly about the major art forms of my drawing invention, boats. The discussion starts from the functional roles of boats in traditional Chinese brushworks. The emphasis is on the representation of boats of cultural concepts in Chinese painting- literators’ reclusion, and further to folk activities and life imagery concerning boats in Taiwan culture, and then distinguish different expressions of boats between traditional and Taiwan culture backgrounds, which is to clarify my inventions connotation. In Chapter 2, the dissertation is about the aesthetic questions of works, including transference of painting objects and the association and imagination formed from the images, the results of the conventionally cultural ideas. Moreover, the transformation of images comprises more intuitional imagery, and then we analyze the structure of Chinese painting imagery. This is to analyze the aesthetic issues we involve in the works. In Chapter 3, it analyzes the characteristics of demarcation in Chinese painting and the evolution of her history. This is to see more clearly the gradation of self-inventions in order for further developing. In Chapter 4, we analyze the forms and characteristics of self-works. The works include three periods, former, middle and later. The analysis is from different angles include material, skills, composition, color, space and so forth and indicates the clarification of the invention ideas. Finally, we make a conclusion of the intercommunity and developing intention of all works. In the conclusion, we advert personal invention ideas according to the current invention fashion and the environment of brushworks and also consider about the direction of invention for the future. |
